Guide To Medieval and Renaissance Manuscripts in the Huntington Library
BOOK OF HOURS, Sarum use1. ff. 3-8v: Calendar with major feasts in red; the main English saints are present, as well as Erkenwald (30 April), Ithamar (10 June, in red), Paulinus (10 October, in red); post-1400 saints, including Anne, are missing. 2. ff. 9-14v: Incipiunt quindecim oraciones de passione, O Domine ihesu christe eterna dulcedo…[HE, 76-80]. 3. ff. 15-27: Ad honorem beate trinitatis Oracio, Domine Deus omnipotens pater et filius et spiritus sanctus da michi famulo tuo N. victoriam…, with cues of Pss. 53, 66, and 129, and the prayer, Libera me domine…[de la Mare, Lyell Cat., 373, n. 88]; suffrages of John the Baptist [Gaude iohannes baptista…, RH 26987], John the Evangelist, George, Christopher, Thomas of Canterbury [Gaude lux londoniarum…, RH 26999], Anne, Mary Magdalene [Gaude pia magdalena…, RH 6895], Margaret [Gaude virgo gloriosa…, RH 7002], Catherine of Alexandria [Gaude virgo katherina…, RH 6991], Barbara; f. 27v, blank. 4. ff. 28-63v: Cursum beate marie Secundum sarum; suffrages after lauds of the Holy Spirit, the Trinity, the Cross, Michael, John the Baptist [Inter natos mulierum…], Peter and Paul, Andrew, Lawrence, Stephen, Thomas of Canterbury [Tu per thome sanguinem…], Nicholas, Mary Magdalene [Maria Magdalena unxit pedes…], Catherine of Alexandria [Virgo sancta katherina…, RH 34646], Margaret [Erat autem margareta…], All Saints, for peace; hours of the Cross worked in; compline followed by Salve Regina and the set of versicles, Virgo mater ecclesie…[HE, 62]. 5. ff. 64-71v: Ad honorem beate marie virginis Salve, Salve virgo virginum…[a farcing of the Salve Regina, attributed to Bonaventure, Opera (Vatican 1668) 6:466-67] with response, versicle and prayer, Deus qui de beate marie virginis utero…[Bruylants, Oraisons, vol. 2, n. 230]; Oracio devota ad mariam virginem, O Intemerata…orbis terrarum. Inclina mater…[Wilmart, 488-90]; Item alia oracio de nostra domina, Obsecro te…[masculine forms; Leroquais, LH 2:346]. 6. ff. 72-75v: Incipiunt septem gaudia beate marie, Virgo templum trinitatis…[Philippus de Grevia; Wilmart, 329, n.]. 7. ff. 76-79v: Ad salutandum ymaginem christi, Omnibus consideratis…[Johannes Lemovicensis; Wilmart, 584, n. to 527] with the prayer, Omnipotens sempiterne deus qui unigenitum filium tuum dominum nostrum ihesum christum crucem coronam spineam…; Incipit oracio de septem verbis christi, Domine ihesu christe qui septem verba…[Leroquais, LH 2:342]; Precor te piissime domine ihesu christe propter eximiam caritatem…[Wilmart, 378, n.]. 8. ff. 80-81v: Salutaciones ad sacrosanctum sacramentum, Ave domine ihesu christe verbum patris filius virginis…[Wilmart, 412]; Ave principium nostre creationis…[Wilmart, 23, n.]; Item alia, Ave verum corpus natum de maria virgine…[Wilmart, 373-76]; Item alia de eodem, Ave caro christi cara immolata crucis…[Wilmart, 379, n.]; Alia de eodem, Anima christi sanctifica me…[a version printed in Leroquais, LH 2:340]; Post elevacionem sacramenti, Domine ihesu christe qui hanc sacratissimam carnem…[Wilmart, 378, n.]. 9. ff. 82-97: Penitential psalms, gradual psalms (cues only for the first 12), and litany, including Quentin and Denis among the martyrs; Chad, Albinus, Swithun and Birinus (the last 2 corrected in a dark ink to the proper form of the name) among the confessors; Ursula, Petronilla, Bridget, Rosa, Afra, Praxedis, Sotheris, Prisca, Thecla and Edith among the virgins; f. 97v, ruled, but blank. 10. ff. 98-117: Office of the Dead, Sarum use; before the first nocturn are collects pro corpore presenti, pro tringitalibus [sic], pro episcopis, pro fratribus et sororibus and pro defunctis. 11. ff. 117v-128v: Commendation of souls (Pss. 118, divided into sections, and 138 with the prayers, Tibi domine commendamus…, and Misericordiam taum domine…). 12. ff. 129-133: Psalms of the Passion (Pss. 21-30, 6; cues only for Pss. 22-24, 26, 29). 13. ff. 133v-145v: Psalter of St. Jerome: Beatus vero iheronimus in hoc modo…, Suscipere digneris domine…[with the feminine “a” suprascript above the masculine forms of the text; f. 134v, blank], Verba mea auribus percipe…[HE, 116-22] with the prayer, Omnipotens sempiterne deus clemenciam tuam supplices deprecor…[feminine forms suprascript]; ff. 146-147v, blank. Parchment, ff. ii (modern parchment) + 147 + ii (modern parchment); 205 × 145 (115 × 70) mm. 12(contemporary flyleaves) 26 3-48 52(+1, f. 25) 6-118 126(through f. 81) 13-148(through f. 97) 15-188 194(+5, f. 134) 208 21 (? ff. 143-145) 222(contemporary flyleaves). Indication of cropped leaf signatures on ff. 77, 78 (?). 20 long lines, ruled in pale red ink, the top line full across. Written in a gothic book hand. Twenty-nine large miniatures above 7 or 8 lines of text in arched compartments with serrated tops, with borders of black vine spray, thin multicolored acanthus leaves, flowers and gold motifs; another manuscript by the same artist and with the same style borders is Brussels, Bibl. Royale, MS IV 1085 (for which see Vijf Jaar Aanwinsten 1974-78/ Cinq Années d’Acquisition 1974-1978, n. 41).1 The miniatures in HM 1087 are: f. 9 (the 15 O’s of St. Bridget), Salvator Mundi against a diapered ground; f. 15 (Domine…da michi famulo tuo N. victoriam), Gnadenstuhl; f. 17, John the Baptist holding the Agnus Dei on a book; f. 18, John the Evangelist holding the snaky chalice; f. 19, George; f. 20, Christopher; f. 21, Thomas of Canterbury, possibly retouched, against gold-scroll background; f. 22v, Anne sitting in a large chair, the Virgin at her feet, in turn holding the infant Jesus, against a gold-scroll background; f. 23v, Mary Magdalene, against a diapered ground; f. 24v, Margaret, with gold-scroll background; f. 25v, Catherine of Alexandria, standing on the emperor Maxentius; f. 26v, Barbara, her hand resting on a tower of her own height, against a gold-scroll background; f. 28 (Hours of the Virgin), Annunciation, with shelves of books to the right, an enclosed garden behind the Virgin, the angel with multicolored wings; f. 34 (Lauds), Visitation, before a receding landscape of a river, towers and hills; f. 46v (Prime), Nativity, with Joseph holding a candle; f. 50 (Terce), Annunciation to the shepherds, with an angel holding a scroll, and a windmill in the background; f. 52v (Sext), Adoration of the Magi in a shed which occupies exactly the 3 U-shape sides of the picture space; f. 55 (None), Presentation in the temple; f. 57v (Vespers), Massacre of the Innocents before Herod in his throne, against a gold-scroll background; f. 59v (Compline), Flight into Egypt with elaborate towers in the background; f. 64 (farcing of the Salve Regina), Coronation of the Virgin by Jesus, with 4 small angels blowing horns, holding her dress, and worshipping; f. 72 (the 7 Joys), Presentation of the Virgin to the temple; f. 75 (Omnibus consideratis), Adam and Eve on either side of the fruit tree, around which is coiled a female-headed snake with a crucifix in the tree; f. 80 (Ave domine ihesu christe verbum patris), a group of ladies and gentlemen kneeling before a monstrance on an altar; f. 82 (Penitential psalms), Last Judgment, with Christ sitting on a rainbow, Mary on his right, and a pink-robed John on his left, two pink angels above blowing horns and the dead rising from their graves below, against a burnished gold background painted with scroll-work; f. 98 (Office of the Dead), Funeral service in a church with monks and priest in the foreground on one side of the draped coffin, and 4 mourners in black behind it; f. 117v (Commendation of souls), two angels with multicolored wings carry 3 naked souls to heaven in a sheet, while Jesus blesses from a ruffled cloud aperture above; diapered background; f. 129 (Psalms of the Passion), Man of Sorrows and the emblems of the Passion; f. 135 (Psalter of St. Jerome), St. Jerome in his study; close to the painting by Jan van Eyck and Petrus Christus in the Detroit Institute of Arts (see plate, for example, in E. Panofsky, “A Letter to St. Jerome: A Note on the Relationship between Petrus Christus and Jan van Eyck,” Studies in Art and Literature for Belle da Costa Greene, ed. D. Miner, Princeton University Press 1954, pp. 102-08, fig. 49); here Jerome writes in the book, the window is omitted, and the lion is reversed. Historiated initials, 6-line, with bracket borders and narrow gold and color strip along the length of the text, often with gold-scroll backgrounds, for the suffrages and the Hours of the Cross: f. 40 (Holy Spirit), Pentecost, and (Trinity), Gnadenstuhl, similar to the large one on f. 15; f. 40v (Holy Cross), Helen holding a tau-cross; f. 41, Michael; f. 41v, John the Baptist, generally similar to that on f. 17; also on f. 41v, Peter and Paul; f. 42, Andrew; f. 42v, Lawrence; also on f. 42v, Stephen; f. 43, Thomas of Canterbury; f. 43v, Nicholas; f. 44, Mary Magdalene; also on f. 44, Catherine of Alexandria, generally similar to that on f. 25v; f. 44v, Margaret, similar to that on f. 24v; f. 45, All Saints, in the front row: Anthony abbot, Peter, a bishop, Andrew and one other; f. 45v (for peace), a man kneels before the emperor and the pope while God the Father looks on from a blue ruffled cloud aperture; also on f. 45v (Hours of the Cross), Betrayal, with Judas standing to Christ’s right, and Peter and Malchus towards the foreground; f. 49v (Hours of the Cross, prime), Betrayal, with only slight variation from that on f. 45v; f. 52 (Hours of the Cross, terce), Scourging at the pillar; f. 54v (Hours of the Cross, sext), Road to Calvary; f. 57 (Hours of the Cross, none), Crucifixion; f. 59 (Hours of the Cross, vespers), Deposition; f. 62 (Hours of the Cross, compline), Entombment. 6- and 5-line initials in white-patterned blue or pink against a ground of the other color, infilled with colored trilobe leaves against a burnished gold ground; 2-line initials in gold against pink ground and blue infilling; 1-line initials in blue with red penwork, or in gold with black penwork; initials within the text washed in yellow. Blue and gold jigsaw line fillers. Rubrics in pink. The text has been corrected in dark black ink, with a leafy pen flourish as line filler when the correction was shorter than the original text. Rust marks in a long narrow shape along the inner margin of ff. 15v-16. Sixteenth century computistic notes on f. i verso; the phrase “In everi tribulacion thynk on cyr[s]ts dere passion” written on ff. ii and 147; illegible notes in lead and a sketched coat of arms also on f. 147. Bound by Douglas Cockerell in 1901 for J. B. Thacher, in bevelled wooden boards and stamped calf; 2 plaited fore edge straps to pins on the edge of the top cover; edges in red. Two sets of 2 holes on ff. i and 147, both originally pastedowns suggest long strap and pin closings on an earlier binding. Written on the Continent (Bruges?) for English use; Ithamar and Paulinus in the calendar may indicate Rochester as the destination. The figure of a man kneeling before pope and emperor (f. 45v) may be intended to represent the owner of the book. The signature “Elizabeth Wyndesor” in an early sixteenth century hand on f. ii may be that of Elizabeth Blount, wife of Andrew Windsor; the same name occurs in a volume of Lydgate’s poems, Oxford, Bod. Lib., Hatton 73, ff. 1v, 122 and 123 where an “Elyzabeth Wyndesore” is said to have died in 1531. Another sixteenth century owner was “Anne,” to whom the book is dedicated on f. 146v: “Mystres Anne this boke and my hartte ys all yors/ Gode send you good chaunce and meny good New Yersse/ And al halloue that be with yn this boke exprest/ send me yor owne my desyre and harttes Reste/ En dieu essperaunce. A.W.” The signature on f. ii of “Sir John Carrill,” s. XVII, may be that of Lord John Caryll (1625-1711) whose heir was his nephew, John Caryll (1666?-1736); the latter’s grandson held the sale in 1790 referred to on f. ii verso: “Benjamin Rotch, Dunkerque. Bought at a Sale of Lord Carryll’s Library 6mo 15th 1790.” Belonged to John Boyd Thacher of New York (1847-1909); his sale, Anderson, New York, 8 January 1914, pt. II, n. 253 to G. D. Smith. Source and date of acquisition by Henry E. Huntington unknown. Bibliography: De Ricci, 91.
Flanders, s. XVmed
1 We thank Prof. James Marrow for this information.
C. W. Dutschke with the assistance of R. H. Rouse et al., Guide to Medieval and Renaissance Manuscripts in the Huntington Library (San Marino, 1989). Copyright 1989.
Henry E. Huntington Library and Art Gallery, San Marino, California.
Electronic version encoded by Sharon K, Goetz, 2003.
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